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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Ex-Cult, the Orange Peels, Bells Atlas, Ava Luna and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_May_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>It’s probably not that surprising that this month’s mix includes two bands each from both Portland (\u003cstrong>\u003ca href=\"https://www.facebook.com/OtherLives?fref=ts\">Other Lives\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/wishyunu?fref=ts\">Wishyunu\u003c/a>\u003c/strong>) and Brooklyn (\u003cstrong>\u003ca href=\"https://www.facebook.com/sanferminband?fref=ts\">San Fermin\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/avaluna?fref=ts\">Ava Luna\u003c/a>\u003c/strong>) — but Memphis? Supported by stellar local label Goner Records, the Tennessee city’s garage rock scene is brimming with talent, and \u003cstrong>\u003ca href=\"https://www.facebook.com/memphisnots?fref=ts\">Nots\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/excultmemphis?fref=ts\">Ex-Cult\u003c/a>\u003c/strong> both deliver intense, raucous rock ‘n’ roll likely to make for some excellent live shows.\u003c/p>\n\u003cp>Speaking of raucous, we’ve heard the words “insane” and “scary” thrown around to describe performances by UK punk oddballs \u003cstrong>\u003ca href=\"https://fatwhitefamily.bandcamp.com/\">Fat White Family\u003c/a>\u003c/strong>, which gives this recommendation an accompanying “you’ve been warned.” If you’re looking for something calmer, consider the acclaimed folk-pop of \u003cstrong>\u003ca href=\"https://www.facebook.com/thetallestmanonearthofficial?fref=ts\">The Tallest Man On Earth\u003c/a>\u003c/strong>. Touring behind new album \u003cem>Dark Bird Is Home\u003c/em>, Kristian Matsson is accompanied by a full band for the first time on this run.\u003c/p>\n\u003cp>Plenty of local bands celebrate new albums with dates this month, including SF quartet \u003cstrong>\u003ca href=\"https://www.facebook.com/thisisplush\">Plush\u003c/a>\u003c/strong>, introducing themselves with \u003cem>Pine\u003c/em>, an LP of engaging dream-pop. Bay Area vets the \u003cstrong>\u003ca href=\"https://www.facebook.com/theorangepeels?fref=ts\">Orange Peels\u003c/a>\u003c/strong> are back with \u003cem>Begin the Begone\u003c/em>, their sixth album of finely-crafted indie pop. Oakland singer-songwriter \u003cstrong>\u003ca href=\"https://www.facebook.com/lilarosemusic?fref=ts\">Lila Rose\u003c/a>\u003c/strong> just released \u003cem>WE.ANIMALS\u003c/em>, an album incorporating themes drawn from her passions for environmentalism and animal rights advocacy.\u003c/p>\n\u003cp>From Oakland, \u003cstrong>\u003ca href=\"https://www.facebook.com/hearbellsmusic?fref=ts\">Bells Atlas\u003c/a>\u003c/strong> releases their \u003cem>Hyperlust\u003c/em> EP on May 12 — lead single “Future Bones” is a dynamite slice of electroacoustic pop. And here’s hoping that the return of \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a>\u003c/strong> means we get a new LP of heavy psych from the trio soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sanferminband?fref=ts\">San Fermin\u003c/a>\u003c/strong> — “Jackrabbit”\u003cbr>\nSan Fermin and Natalie Prass come to the \u003ca href=\"http://www.theindependentsf.com/\">Independent\u003c/a> on May 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theorangepeels?fref=ts\">The Orange Peels\u003c/a>\u003c/strong> — “Head Cleaner”\u003cbr>\nHeadlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.60MHSkcI.dpbs\">Bottom of the Hill\u003c/a> on May 9; Curious Quail and Arts & Leisure support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://fatwhitefamily.bandcamp.com/\">Fat White Family\u003c/a>\u003c/strong> — “Is It Raining in Your Mouth?”\u003cbr>\nPlaying the \u003ca href=\"http://www.thechapelsf.com/\">Chapel\u003c/a> with LA Drugz on May 17.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/OtherLives?fref=ts\">Other Lives\u003c/a>\u003c/strong> — “Easy Way Out”\u003cbr>\nRiothouse Royale joins the band at the \u003ca href=\"http://www.thechapelsf.com/\">Chapel\u003c/a> on May 9.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/excultmemphis?fref=ts\">Ex-Cult\u003c/a>\u003c/strong> — “Cigarette Machine”\u003cbr>\nThe band comes to the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on May 16; Useless Eaters, Scraper, and Love Moon also perform.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/vaadatcharigim?fref=ts\">Vaadat Charigim\u003c/a>\u003c/strong> — “Ein Li Makom”\u003cbr>\nThe group’s US tour hits \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.60MHSkcI.dpbs\">Bottom of the Hill\u003c/a> on May 15 with Cotillon and the Soonest.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hearbellsmusic?fref=ts\">Bells Atlas\u003c/a>\u003c/strong> — “Future Bones”\u003cbr>\nThe Oakland band’s next show is on May 8 at the \u003ca href=\"http://thenewparish.com/shows.cfm\">New Parish\u003c/a> with the Seshen and Zakiya Harris featuring Elephantine.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thetallestmanonearthofficial?fref=ts\">The Tallest Man On Earth\u003c/a>\u003c/strong> — “Dark Bird Is Home”\u003cbr>\nHiss Golden Messenger opens the show at the \u003ca href=\"http://www.thefoxoakland.com/calendar.php\">Fox Theater\u003c/a> on May 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/avaluna?fref=ts\">Ava Luna\u003c/a>\u003c/strong> — “Coat Of Shellac”\u003cbr>\nComing to the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> with O and Harriet Brown on May 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thisisplush\">Plush\u003c/a>\u003c/strong> — “WAYN”\u003cbr>\nPerforming at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.60MHSkcI.dpbs\">Bottom of the Hill\u003c/a> on May 7 as part of an all-local bill with Wander, Void Boys, and Pardoner.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/memphisnots?fref=ts\">Nots\u003c/a>\u003c/strong> — “Reactor”\u003cbr>\nTouring with Quintron & Miss Pussycat, Nots arrive at the \u003ca href=\"http://elbo.com/Calendar.php\">Elbo Room\u003c/a> on May 23; Tony Molina opens the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a>\u003c/strong> — “Raise”\u003cbr>\nPlaying the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> with Lamps on May 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/slowseasonmusic?fref=ts\">Slow Season\u003c/a>\u003c/strong> — “Sixty-Eight”\u003cbr>\nComing to \u003ca href=\"http://www.elriosf.com/calendar/\">El Rio\u003c/a> on May 20 with Hot Lunch and Blackout.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lilarosemusic?fref=ts\">Lila Rose\u003c/a>\u003c/strong> — “Stars”\u003cbr>\nLYNX and Mariee Sioux support Lila Rose on May 7 at the \u003ca href=\"http://www.theindependentsf.com/\">Independent\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wishyunu?fref=ts\">Wishyunu\u003c/a>\u003c/strong> — “Photoplay”\u003cbr>\nOn May 14, Linear Downfall and Li Xi join the band at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Ex-Cult, the Orange Peels, Bells Atlas, Ava Luna and more.",
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"title": "Live This Month: May 2015 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Ex-Cult, the Orange Peels, Bells Atlas, Ava Luna and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_May_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>It’s probably not that surprising that this month’s mix includes two bands each from both Portland (\u003cstrong>\u003ca href=\"https://www.facebook.com/OtherLives?fref=ts\">Other Lives\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/wishyunu?fref=ts\">Wishyunu\u003c/a>\u003c/strong>) and Brooklyn (\u003cstrong>\u003ca href=\"https://www.facebook.com/sanferminband?fref=ts\">San Fermin\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://www.facebook.com/avaluna?fref=ts\">Ava Luna\u003c/a>\u003c/strong>) — but Memphis? Supported by stellar local label Goner Records, the Tennessee city’s garage rock scene is brimming with talent, and \u003cstrong>\u003ca href=\"https://www.facebook.com/memphisnots?fref=ts\">Nots\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/excultmemphis?fref=ts\">Ex-Cult\u003c/a>\u003c/strong> both deliver intense, raucous rock ‘n’ roll likely to make for some excellent live shows.\u003c/p>\n\u003cp>Speaking of raucous, we’ve heard the words “insane” and “scary” thrown around to describe performances by UK punk oddballs \u003cstrong>\u003ca href=\"https://fatwhitefamily.bandcamp.com/\">Fat White Family\u003c/a>\u003c/strong>, which gives this recommendation an accompanying “you’ve been warned.” If you’re looking for something calmer, consider the acclaimed folk-pop of \u003cstrong>\u003ca href=\"https://www.facebook.com/thetallestmanonearthofficial?fref=ts\">The Tallest Man On Earth\u003c/a>\u003c/strong>. Touring behind new album \u003cem>Dark Bird Is Home\u003c/em>, Kristian Matsson is accompanied by a full band for the first time on this run.\u003c/p>\n\u003cp>Plenty of local bands celebrate new albums with dates this month, including SF quartet \u003cstrong>\u003ca href=\"https://www.facebook.com/thisisplush\">Plush\u003c/a>\u003c/strong>, introducing themselves with \u003cem>Pine\u003c/em>, an LP of engaging dream-pop. Bay Area vets the \u003cstrong>\u003ca href=\"https://www.facebook.com/theorangepeels?fref=ts\">Orange Peels\u003c/a>\u003c/strong> are back with \u003cem>Begin the Begone\u003c/em>, their sixth album of finely-crafted indie pop. Oakland singer-songwriter \u003cstrong>\u003ca href=\"https://www.facebook.com/lilarosemusic?fref=ts\">Lila Rose\u003c/a>\u003c/strong> just released \u003cem>WE.ANIMALS\u003c/em>, an album incorporating themes drawn from her passions for environmentalism and animal rights advocacy.\u003c/p>\n\u003cp>From Oakland, \u003cstrong>\u003ca href=\"https://www.facebook.com/hearbellsmusic?fref=ts\">Bells Atlas\u003c/a>\u003c/strong> releases their \u003cem>Hyperlust\u003c/em> EP on May 12 — lead single “Future Bones” is a dynamite slice of electroacoustic pop. And here’s hoping that the return of \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a>\u003c/strong> means we get a new LP of heavy psych from the trio soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sanferminband?fref=ts\">San Fermin\u003c/a>\u003c/strong> — “Jackrabbit”\u003cbr>\nSan Fermin and Natalie Prass come to the \u003ca href=\"http://www.theindependentsf.com/\">Independent\u003c/a> on May 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theorangepeels?fref=ts\">The Orange Peels\u003c/a>\u003c/strong> — “Head Cleaner”\u003cbr>\nHeadlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.60MHSkcI.dpbs\">Bottom of the Hill\u003c/a> on May 9; Curious Quail and Arts & Leisure support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://fatwhitefamily.bandcamp.com/\">Fat White Family\u003c/a>\u003c/strong> — “Is It Raining in Your Mouth?”\u003cbr>\nPlaying the \u003ca href=\"http://www.thechapelsf.com/\">Chapel\u003c/a> with LA Drugz on May 17.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/OtherLives?fref=ts\">Other Lives\u003c/a>\u003c/strong> — “Easy Way Out”\u003cbr>\nRiothouse Royale joins the band at the \u003ca href=\"http://www.thechapelsf.com/\">Chapel\u003c/a> on May 9.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/excultmemphis?fref=ts\">Ex-Cult\u003c/a>\u003c/strong> — “Cigarette Machine”\u003cbr>\nThe band comes to the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on May 16; Useless Eaters, Scraper, and Love Moon also perform.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/vaadatcharigim?fref=ts\">Vaadat Charigim\u003c/a>\u003c/strong> — “Ein Li Makom”\u003cbr>\nThe group’s US tour hits \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.60MHSkcI.dpbs\">Bottom of the Hill\u003c/a> on May 15 with Cotillon and the Soonest.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hearbellsmusic?fref=ts\">Bells Atlas\u003c/a>\u003c/strong> — “Future Bones”\u003cbr>\nThe Oakland band’s next show is on May 8 at the \u003ca href=\"http://thenewparish.com/shows.cfm\">New Parish\u003c/a> with the Seshen and Zakiya Harris featuring Elephantine.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thetallestmanonearthofficial?fref=ts\">The Tallest Man On Earth\u003c/a>\u003c/strong> — “Dark Bird Is Home”\u003cbr>\nHiss Golden Messenger opens the show at the \u003ca href=\"http://www.thefoxoakland.com/calendar.php\">Fox Theater\u003c/a> on May 21.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/avaluna?fref=ts\">Ava Luna\u003c/a>\u003c/strong> — “Coat Of Shellac”\u003cbr>\nComing to the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> with O and Harriet Brown on May 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thisisplush\">Plush\u003c/a>\u003c/strong> — “WAYN”\u003cbr>\nPerforming at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.60MHSkcI.dpbs\">Bottom of the Hill\u003c/a> on May 7 as part of an all-local bill with Wander, Void Boys, and Pardoner.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/memphisnots?fref=ts\">Nots\u003c/a>\u003c/strong> — “Reactor”\u003cbr>\nTouring with Quintron & Miss Pussycat, Nots arrive at the \u003ca href=\"http://elbo.com/Calendar.php\">Elbo Room\u003c/a> on May 23; Tony Molina opens the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a>\u003c/strong> — “Raise”\u003cbr>\nPlaying the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> with Lamps on May 20.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/slowseasonmusic?fref=ts\">Slow Season\u003c/a>\u003c/strong> — “Sixty-Eight”\u003cbr>\nComing to \u003ca href=\"http://www.elriosf.com/calendar/\">El Rio\u003c/a> on May 20 with Hot Lunch and Blackout.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lilarosemusic?fref=ts\">Lila Rose\u003c/a>\u003c/strong> — “Stars”\u003cbr>\nLYNX and Mariee Sioux support Lila Rose on May 7 at the \u003ca href=\"http://www.theindependentsf.com/\">Independent\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/wishyunu?fref=ts\">Wishyunu\u003c/a>\u003c/strong> — “Photoplay”\u003cbr>\nOn May 14, Linear Downfall and Li Xi join the band at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Between Homelands: Nigerian Pop Star Sings Her Way Home",
"title": "Between Homelands: Nigerian Pop Star Sings Her Way Home",
"headTitle": "Between Homelands | The California Report | KQED News",
"content": "\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512926\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/203512926&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/203512926'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Music Review: Mikal Cronin Takes Creative Step Forward on 'MCIII'",
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"content": "\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512805\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/203512805&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/203512805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Lyrics Born\u003c/h2>\n\u003cdiv class=\"event-desc\">Record-release show for new album ‘Real People.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Lyrics Born knows a thing or two about melting pots. Born in Tokyo, the East Bay MC came to prominence in a largely black hip-hop culture as one-half of the duo Latyrx, which played nearly every small club in the multicultural Bay Area in the late 1990s.\u003c/p>\n\u003cp>So when it came time to record his eighth album, \u003cem>Real People\u003c/em>, he headed to another melting pot: New Orleans. Produced by Robert Mercurio and Ben Ellman from the band Galactic, the album bubbles with flavors from the Big Easy. A heavy backbeat-and-brass vibe runs throughout the 13 tracks, and Trombone Shorty, the Preservation Hall Jazz Band, Corey Glover and Ivan Neville guest on the album.\u003c/p>\n\u003cp>“New Orleans has a cultural history that’s different than any other city in America,” the singer told KQED when we caught up with him recently at a studio in East Oakland. “Coming from the Bay Area – where we sort of live in this confluence of strange politics and ideologies, you know, this weird cultural swirl – the first time I went to New Orleans, I was like, ‘Oh yeah, \u003cem>home\u003c/em>.’”\u003c/p>\n\u003cp>Watch Lyrics Born and his band perform “Rock-Rock-Away” from \u003cem>Real People\u003c/em> for KQED above, and read more about the album and song below. Look for a second KQED video — of the album’s title track, \u003ca href=\"http://ww2.kqed.org/arts/2015/05/04/watch-lyrics-born-perform-title-track-from-new-album-real-people/\">“Real People”\u003c/a> — tomorrow.\u003c/p>\n\u003cfigure id=\"attachment_10606048\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10606048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg\" alt=\"'Real People' album art.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Real People’ album art.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to record ‘Real People’ in New Orleans?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wanted to do something that was really funky and organic sounding — in a way that I hadn’t done it before. You know, when you’ve been making records for 20 years — this is my eighth album – the challenge is always, “How do I do something that I haven’t done before?”\u003c/p>\n\u003cp>And, for this album, it’s just something that felt natural to me. New Orleans is one of those special places where you have \u003cem>New Orleans\u003c/em>, and then you have Louisiana. Much like you have the Bay Area, and then you have California. And you know, its probably one of the true first and last, perhaps, music towns. Where you can go and hear music every night of the week that’s specific to New Orleans. Every night of the week, someplace, somewhere, there are reputable, highly regarded, skilled musicians, rappers, DJs, bands playing every night of the week.\u003c/p>\n\u003cp>\u003cstrong>“Rock-Rock-Away” is your classic Lyrics Born-style love song — it could almost be “\u003ca href=\"https://www.youtube.com/watch?v=pJqhTnrPF4E\" target=\"_blank\" rel=\"noopener\">Lady Don’t Tek No\u003c/a>” Part II. \u003c/strong>\u003c/p>\n\u003cp>With “Rock-Rock-Away,” one of the things I heard once, and it always stuck with me, was Ray Charles said, “If you want to make a good song that will live forever, you have to praise the woman.” And so when the veterans speak, I always listen. When you talk about songs like “Lady Don’t Tek No” or “I Like It, I Love It,” that’s important to know as an artist.\u003c/p>\n\u003cp>What we do is not taught in school. You can’t take rap lessons in the same way you can take guitar lessons. And songwriting is an art that’s mostly passed down from artists to artists. You kinda learn on the job; there’s no formal training.\u003c/p>\n\u003cp>\u003cstrong>You’ve been in the game 20 years now. Do you consider yourself lucky?\u003c/strong>\u003c/p>\n\u003cp>I’m extremely fortunate. It’s probably one of the most hostile businesses that there are. One thing I have been very fortunate for is I’ve been extremely blessed to stay curious. I’ve always wanted to try new things. For me, as an artist, it’s impossible to quell new things. I just can’t suppress it. That was always the goal, to have a long career, one that had some kind of impact on history and people’s lives. I don’t know if I’m quite there yet, but I definitely feel at this stage, I’ve made some headway.\u003c/p>\n\u003cp>To me, this is a lifelong endeavor. This is a lifelong pursuit. Whether I sell one record or one million, it’s etched in stone for me.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Lyrics Born\u003c/h2>\n\u003cdiv class=\"event-desc\">Record-release show for new album ‘Real People.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lyrics-born/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Lyrics Born knows a thing or two about melting pots. Born in Tokyo, the East Bay MC came to prominence in a largely black hip-hop culture as one-half of the duo Latyrx, which played nearly every small club in the multicultural Bay Area in the late 1990s.\u003c/p>\n\u003cp>So when it came time to record his eighth album, \u003cem>Real People\u003c/em>, he headed to another melting pot: New Orleans. Produced by Robert Mercurio and Ben Ellman from the band Galactic, the album bubbles with flavors from the Big Easy. A heavy backbeat-and-brass vibe runs throughout the 13 tracks, and Trombone Shorty, the Preservation Hall Jazz Band, Corey Glover and Ivan Neville guest on the album.\u003c/p>\n\u003cp>“New Orleans has a cultural history that’s different than any other city in America,” the singer told KQED when we caught up with him recently at a studio in East Oakland. “Coming from the Bay Area – where we sort of live in this confluence of strange politics and ideologies, you know, this weird cultural swirl – the first time I went to New Orleans, I was like, ‘Oh yeah, \u003cem>home\u003c/em>.’”\u003c/p>\n\u003cp>Watch Lyrics Born and his band perform “Rock-Rock-Away” from \u003cem>Real People\u003c/em> for KQED above, and read more about the album and song below. Look for a second KQED video — of the album’s title track, \u003ca href=\"http://ww2.kqed.org/arts/2015/05/04/watch-lyrics-born-perform-title-track-from-new-album-real-people/\">“Real People”\u003c/a> — tomorrow.\u003c/p>\n\u003cfigure id=\"attachment_10606048\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10606048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg\" alt=\"'Real People' album art.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/LB-COVER_FINAL_800.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Real People’ album art.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to record ‘Real People’ in New Orleans?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wanted to do something that was really funky and organic sounding — in a way that I hadn’t done it before. You know, when you’ve been making records for 20 years — this is my eighth album – the challenge is always, “How do I do something that I haven’t done before?”\u003c/p>\n\u003cp>And, for this album, it’s just something that felt natural to me. New Orleans is one of those special places where you have \u003cem>New Orleans\u003c/em>, and then you have Louisiana. Much like you have the Bay Area, and then you have California. And you know, its probably one of the true first and last, perhaps, music towns. Where you can go and hear music every night of the week that’s specific to New Orleans. Every night of the week, someplace, somewhere, there are reputable, highly regarded, skilled musicians, rappers, DJs, bands playing every night of the week.\u003c/p>\n\u003cp>\u003cstrong>“Rock-Rock-Away” is your classic Lyrics Born-style love song — it could almost be “\u003ca href=\"https://www.youtube.com/watch?v=pJqhTnrPF4E\" target=\"_blank\" rel=\"noopener\">Lady Don’t Tek No\u003c/a>” Part II. \u003c/strong>\u003c/p>\n\u003cp>With “Rock-Rock-Away,” one of the things I heard once, and it always stuck with me, was Ray Charles said, “If you want to make a good song that will live forever, you have to praise the woman.” And so when the veterans speak, I always listen. When you talk about songs like “Lady Don’t Tek No” or “I Like It, I Love It,” that’s important to know as an artist.\u003c/p>\n\u003cp>What we do is not taught in school. You can’t take rap lessons in the same way you can take guitar lessons. And songwriting is an art that’s mostly passed down from artists to artists. You kinda learn on the job; there’s no formal training.\u003c/p>\n\u003cp>\u003cstrong>You’ve been in the game 20 years now. Do you consider yourself lucky?\u003c/strong>\u003c/p>\n\u003cp>I’m extremely fortunate. It’s probably one of the most hostile businesses that there are. One thing I have been very fortunate for is I’ve been extremely blessed to stay curious. I’ve always wanted to try new things. For me, as an artist, it’s impossible to quell new things. I just can’t suppress it. That was always the goal, to have a long career, one that had some kind of impact on history and people’s lives. I don’t know if I’m quite there yet, but I definitely feel at this stage, I’ve made some headway.\u003c/p>\n\u003cp>To me, this is a lifelong endeavor. This is a lifelong pursuit. Whether I sell one record or one million, it’s etched in stone for me.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>About this Series:\u003c/strong> \u003ca href=\"http://ww2.kqed.org/arts/series/main-stage/\" target=\"_blank\" rel=\"noopener\">KQED Main Stage\u003c/a> brings art in performance — dance, drama and music – to Web audiences via short-form video. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Talib Kweli, Randy Newman, tUnE-yArDs Highlight Stern Grove Festival",
"headTitle": "Talib Kweli, Randy Newman, tUnE-yArDs Highlight Stern Grove Festival | KQED",
"content": "\u003cp>Now in its 78th year, the \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> is the antidote to packed music festivals like Coachella and Outside Lands that can cost hundreds of dollars and, occasionally, one’s sanity. Stern Grove is always free. Its acoustics are always good. And the setting? Amid trees that climb forever, the summer series is always inspiring (and usually foggy). \u003c/p>\n\u003cp>Unlike Coachella, Outside Lands and Hardly Strictly Bluegrass, Stern Grove is stretched out over two months — every Sunday from June 14 through August 16. So music-goers get to prolong their engagement with the headliners, who this summer offer a little bit of everything, including hip-hop, classical, Latin, ’70s rock, and modern folk-rock influenced by world music.\u003c/p>\n\u003cp>About 10,000 people can fit into Stern Grove’s setting at 19th Avenue and Sloat Boulevard, but you’ll need to get there early (way before the 2pm start) for good seats. Every one of this year’s acts has a loyal following:\u003c/p>\n\u003cp>\u003cstrong>June 14: The Doobie Brothers and California Honeydrops\u003c/strong>. \u003ca href=\"http://en.wikipedia.org/wiki/The_Doobie_Brothers\" target=\"_blank\" rel=\"noopener\">The Doobie Brothers\u003c/a> have endured for 40 years, playing the kind of pop folk that’s catchy and unpretentious. One example: “\u003ca href=\"https://www.youtube.com/watch?v=bJqk2yWUGTM\" target=\"_blank\" rel=\"noopener\">Listen to the Music\u003c/a>,” first released in 1972, is a timeless directive to make the world a better place. (It’s also clichéd music for those who’ve heard it too often and those who never liked the song in the first place.) Meanwhile, the \u003ca href=\"http://www.cahoneydrops.com/\" target=\"_blank\" rel=\"noopener\">California Honeydrops\u003c/a> are a Bay Area group that plays “party” music influenced by blues, jazz, and other genres. A ticketed benefit for the fest, called “The Big Picnic,” precedes these performances.\u003c/p>\n\u003cp>\u003cstrong>June 21: Pacific Mambo Orchestra, with Sheila E., Marlow Rosado, and Salsamania Dance Company\u003c/strong>. The Bay Area-based \u003ca title=\"PMO\" href=\"http://www.pacificmambo.com/\" target=\"_blank\" rel=\"noopener\">Pacific Mambo Orchestra\u003c/a>, founded in 2010, plays infectious Latin Big Band music. You don’t sit at a Pacific Mambo Orchestra — you dance, shout, and shimmy with anyone in sight. At last year’s Grammys, when PMO won Best Tropical Latin Album for its self-titled debut, \u003cem>Billboard\u003c/em> magazine \u003ca href=\"http://www.billboard.com/articles/events/grammys-2014/5885489/little-known-pacific-mambo-orchestra-takes-tropical-grammy-from\" target=\"_blank\" rel=\"noopener\">called the group\u003c/a> “little-known.” That label doesn’t apply anymore. It certainly doesn’t apply to \u003ca href=\"http://www.sheilae.com/#sthash.annEsNbT.dpbs\">Sheila E.\u003c/a>, the daughter of Latin percussionist Peter Escovedo, who’s a whirling dervish in her own right. Pianist Marlow Rosado and the Salsamania Dance Company add to the day’s atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_10604602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg\" alt=\"Randy Newman.\" width=\"400\" height=\"401\" class=\"size-thumbnail wp-image-10604602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-960x963.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Randy Newman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 28: Randy Newman and Hot Club of San Francisco\u003c/strong>. Like the Doobie Brothers, \u003ca href=\"http://en.wikipedia.org/wiki/Randy_Newman\">Randy Newman\u003c/a> has been around seemingly forever. Where would the American songbook be without songs like “\u003ca href=\"https://www.youtube.com/watch?v=1NvgLkuEtkA\">Short People\u003c/a>” and “\u003ca href=\"http://en.wikipedia.org/wiki/You%27ve_Got_a_Friend_in_Me\">You’ve Got a Friend in Me\u003c/a>?” Newman’s tunes are biting and sentimental, funny and undermining. \u003ca href=\"http://www.hcsf.com/\">The Hot Club of San Francisco\u003c/a> opens with sweet songs that echo with the sounds of 1930s Paris and other bygone eras — a perfect complement to Newman’s brand of shiny, shiny music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>July 5: San Francisco Symphony.\u003c/strong> Conductor \u003ca href=\"http://www.sfsymphony.org/About-Us/Michael-Tilson-Thomas\">Michael Tilson Thomas\u003c/a> won’t be here, replaced for this concert by \u003ca href=\"http://www.edwinoutwater.com/biography/\">Edwin Outwater\u003c/a>, the symphony’s Director of Summer Concerts. No matter: under Outwater’s direction, the \u003ca href=\"http://www.sfsymphony.org/\">San Francisco Symphony\u003c/a> is still a formidable entity. The orchestra will be joined by vocalist \u003ca href=\"http://www.mybrightestdiamond.com/bio/\">Shara Worden\u003c/a>, whose \u003ca href=\"http://www.mybrightestdiamond.com/videos/\">voice\u003c/a> carries far and wide in her stewardship of the group My Brightest Diamond.\u003c/p>\n\u003cp>\u003cstrong>July 12: Amy Hānaiali‘i with the Stern Grove Festival Orchestra and Halau ‘o Keikiali‘i\u003c/strong>. You wanted Hawaiian music? You have it with this day’s homage to the genre. \u003ca href=\"http://www.amyhanaialiigilliom.com/\">Hānaiali‘i\u003c/a>, the island state’s best-selling female vocalist, sings in the Hawaiian language, bringing its distinct vocalization to \u003ca href=\"https://www.youtube.com/watch?v=eUlWzurgptk\">songs\u003c/a> that, in other hands, can devolve into touristy kitsch. She’ll perform with an orchestra overseen by \u003ca href=\"http://www.mattcatingub.com/\">Matt Catingub\u003c/a>, who’s artistic director and founder of the Hawaii Pops in Honolulu. Opening is Halau ‘o Keikiali‘i, a Hawaiian group based in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10604880\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10604880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg\" alt=\"DakhaBrakha\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg 467w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DakhaBrakha \u003ccite>(By Olga Zakrevska)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 19\u003c/strong>: \u003cstrong>tUnE-yArDs and DakhaBrakha\u003c/strong>. “Wacky” is one way to describe \u003ca href=\"http://tune-yards.com/\">tune-yArDs\u003c/a>, an American group led by \u003ca href=\"https://twitter.com/tuneyards\">Merrill Garbus\u003c/a> that, on YouTube, gets millions of views with its theatrical songs like “\u003ca href=\"https://www.youtube.com/watch?v=YQ1LI-NTa2s\">Bizness\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=AwDEQWaSiEU\">Real Live Flesh\u003c/a>.” \u003ca href=\"http://www.dakhabrakha.com.ua/eng/BAND\">DakhaBrakha\u003c/a> is a Ukrainian quartet that on songs like “\u003ca href=\"https://www.youtube.com/watch?v=bJvbC1MREuQ\">Baby\u003c/a>” channels the spirit of cultures around the world, including America’s. The two groups’ songs occasionally intersect in memorable ways.\u003c/p>\n\u003cp>\u003cstrong>July 26: San Francisco Ballet\u003c/strong>. Two months after the \u003ca href=\"https://www.sfballet.org/\">San Francisco Ballet\u003c/a> completes its 2015 repertory season, it performs excerpts from the repertory \u003cem>en plein air\u003c/em> at Stern Grove.\u003c/p>\n\u003cp>\u003cstrong>August 2: Mary Chapin Carpenter and Bhi Bhiman\u003c/strong>. Country-ish singer Mary Chapin Carpenter — she of hits like “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">I Feel Lucky\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">Passionate Kisses\u003c/a>” — is twinned with \u003ca href=\"http://www.pledgemusic.com/artists/bhibhiman\">Bhi Bhiman\u003c/a>, who is grounded in American roots music that references his Sri Lankan roots, as in the song “\u003ca href=\"https://www.youtube.com/watch?v=_YP1lIEM1s4\">Guttersnipe\u003c/a>.” The pairing is yin and yang, with Carpenter’s slick sound a bookend to Bhiman’s more soulful expressions about life on the edge.\u003c/p>\n\u003cp>\u003cstrong>August 9: Morris Day & The Time and Con Brio\u003c/strong>. History will be kind to \u003ca href=\"http://en.wikipedia.org/wiki/Morris_Day\">Morris Day\u003c/a>, who first made a big name for himself with Prince in the 1984 movie \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Purple_Rain_%28film%29\">Purple Rain\u003c/a>\u003c/em>. Thirty years on, “\u003ca href=\"https://www.youtube.com/watch?v=919Gt1SczVY\">Jungle Love\u003c/a>” holds up as a raucous plea for love and physical contact. The Time, Day’s longtime group, cranks up the energy levels that Day feeds off of. \u003ca href=\"http://www.thebandconbrio.com/home/band/\">Con Brio\u003c/a> is in that same orbit, playing the kind of funk and soul that drives people into fits of delight.\u003c/p>\n\u003cfigure id=\"attachment_10605025\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10605025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg\" alt=\"Talib Kweli\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg 640w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Talib Kweli \u003ccite>(Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August 16: Talib Kweli and Zakiya Harris\u003c/strong>. \u003ca href=\"http://www.talibkweli.com/\">Talib Kweli\u003c/a> wants to change the world with his brand of hip-hop, exemplified by “\u003ca href=\"https://www.youtube.com/watch?v=UVtpXvzzXiA\">Get By\u003c/a>,” a smart and moving hit that references drug dealing, consumerism, Norman Mailer, John Lennon, the U.S. prison system, and scores of other names and subjects to comment on the state of the world. \u003ca href=\"http://www.zakiyaharris.com/\">Zakiya Harris\u003c/a> is also doing her best to change the world, through teaching, organizing, and, yes, \u003ca href=\"http://www.zakiyaharris.com/music/\">making music\u003c/a> that’s important to hear.\u003c/p>\n\u003cp>To emphasize the connection between art, audience, and the festival’s natural setting, Stern Grove organizers commissioned seven of this year’s performers – all from the Bay Area – to create works for a series called “Interplay: Artists in Concert With Nature.” The seven performers: California Honeydrops; Pacific Mambo Orchestra; Con Brio; Hot Club of San Francisco; Hālau o Keikiali’I; Bhi Bhiman; Zakiya Harris, featuring the group Elephantine. So each of these seven will do works never heard prior to their Stern Grove performance. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stern Grove Festival runs every Sunday from June 14 to August 16 at San Francisco’s Stern Grove, 19th Avenue and Sloat Boulevard. All concerts are free and start at 2pm. \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For the 70th annual Stern Grove, the festival's organizers pulled out all the stops and lined up a series of groups that have both a little bit of everything and a local following.",
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"description": "For the 70th annual Stern Grove, the festival's organizers pulled out all the stops and lined up a series of groups that have both a little bit of everything and a local following.",
"title": "Talib Kweli, Randy Newman, tUnE-yArDs Highlight Stern Grove Festival | KQED",
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"headline": "Talib Kweli, Randy Newman, tUnE-yArDs Highlight Stern Grove Festival",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 78th year, the \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> is the antidote to packed music festivals like Coachella and Outside Lands that can cost hundreds of dollars and, occasionally, one’s sanity. Stern Grove is always free. Its acoustics are always good. And the setting? Amid trees that climb forever, the summer series is always inspiring (and usually foggy). \u003c/p>\n\u003cp>Unlike Coachella, Outside Lands and Hardly Strictly Bluegrass, Stern Grove is stretched out over two months — every Sunday from June 14 through August 16. So music-goers get to prolong their engagement with the headliners, who this summer offer a little bit of everything, including hip-hop, classical, Latin, ’70s rock, and modern folk-rock influenced by world music.\u003c/p>\n\u003cp>About 10,000 people can fit into Stern Grove’s setting at 19th Avenue and Sloat Boulevard, but you’ll need to get there early (way before the 2pm start) for good seats. Every one of this year’s acts has a loyal following:\u003c/p>\n\u003cp>\u003cstrong>June 14: The Doobie Brothers and California Honeydrops\u003c/strong>. \u003ca href=\"http://en.wikipedia.org/wiki/The_Doobie_Brothers\" target=\"_blank\" rel=\"noopener\">The Doobie Brothers\u003c/a> have endured for 40 years, playing the kind of pop folk that’s catchy and unpretentious. One example: “\u003ca href=\"https://www.youtube.com/watch?v=bJqk2yWUGTM\" target=\"_blank\" rel=\"noopener\">Listen to the Music\u003c/a>,” first released in 1972, is a timeless directive to make the world a better place. (It’s also clichéd music for those who’ve heard it too often and those who never liked the song in the first place.) Meanwhile, the \u003ca href=\"http://www.cahoneydrops.com/\" target=\"_blank\" rel=\"noopener\">California Honeydrops\u003c/a> are a Bay Area group that plays “party” music influenced by blues, jazz, and other genres. A ticketed benefit for the fest, called “The Big Picnic,” precedes these performances.\u003c/p>\n\u003cp>\u003cstrong>June 21: Pacific Mambo Orchestra, with Sheila E., Marlow Rosado, and Salsamania Dance Company\u003c/strong>. The Bay Area-based \u003ca title=\"PMO\" href=\"http://www.pacificmambo.com/\" target=\"_blank\" rel=\"noopener\">Pacific Mambo Orchestra\u003c/a>, founded in 2010, plays infectious Latin Big Band music. You don’t sit at a Pacific Mambo Orchestra — you dance, shout, and shimmy with anyone in sight. At last year’s Grammys, when PMO won Best Tropical Latin Album for its self-titled debut, \u003cem>Billboard\u003c/em> magazine \u003ca href=\"http://www.billboard.com/articles/events/grammys-2014/5885489/little-known-pacific-mambo-orchestra-takes-tropical-grammy-from\" target=\"_blank\" rel=\"noopener\">called the group\u003c/a> “little-known.” That label doesn’t apply anymore. It certainly doesn’t apply to \u003ca href=\"http://www.sheilae.com/#sthash.annEsNbT.dpbs\">Sheila E.\u003c/a>, the daughter of Latin percussionist Peter Escovedo, who’s a whirling dervish in her own right. Pianist Marlow Rosado and the Salsamania Dance Company add to the day’s atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_10604602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg\" alt=\"Randy Newman.\" width=\"400\" height=\"401\" class=\"size-thumbnail wp-image-10604602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-960x963.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Newman-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Randy Newman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 28: Randy Newman and Hot Club of San Francisco\u003c/strong>. Like the Doobie Brothers, \u003ca href=\"http://en.wikipedia.org/wiki/Randy_Newman\">Randy Newman\u003c/a> has been around seemingly forever. Where would the American songbook be without songs like “\u003ca href=\"https://www.youtube.com/watch?v=1NvgLkuEtkA\">Short People\u003c/a>” and “\u003ca href=\"http://en.wikipedia.org/wiki/You%27ve_Got_a_Friend_in_Me\">You’ve Got a Friend in Me\u003c/a>?” Newman’s tunes are biting and sentimental, funny and undermining. \u003ca href=\"http://www.hcsf.com/\">The Hot Club of San Francisco\u003c/a> opens with sweet songs that echo with the sounds of 1930s Paris and other bygone eras — a perfect complement to Newman’s brand of shiny, shiny music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 5: San Francisco Symphony.\u003c/strong> Conductor \u003ca href=\"http://www.sfsymphony.org/About-Us/Michael-Tilson-Thomas\">Michael Tilson Thomas\u003c/a> won’t be here, replaced for this concert by \u003ca href=\"http://www.edwinoutwater.com/biography/\">Edwin Outwater\u003c/a>, the symphony’s Director of Summer Concerts. No matter: under Outwater’s direction, the \u003ca href=\"http://www.sfsymphony.org/\">San Francisco Symphony\u003c/a> is still a formidable entity. The orchestra will be joined by vocalist \u003ca href=\"http://www.mybrightestdiamond.com/bio/\">Shara Worden\u003c/a>, whose \u003ca href=\"http://www.mybrightestdiamond.com/videos/\">voice\u003c/a> carries far and wide in her stewardship of the group My Brightest Diamond.\u003c/p>\n\u003cp>\u003cstrong>July 12: Amy Hānaiali‘i with the Stern Grove Festival Orchestra and Halau ‘o Keikiali‘i\u003c/strong>. You wanted Hawaiian music? You have it with this day’s homage to the genre. \u003ca href=\"http://www.amyhanaialiigilliom.com/\">Hānaiali‘i\u003c/a>, the island state’s best-selling female vocalist, sings in the Hawaiian language, bringing its distinct vocalization to \u003ca href=\"https://www.youtube.com/watch?v=eUlWzurgptk\">songs\u003c/a> that, in other hands, can devolve into touristy kitsch. She’ll perform with an orchestra overseen by \u003ca href=\"http://www.mattcatingub.com/\">Matt Catingub\u003c/a>, who’s artistic director and founder of the Hawaii Pops in Honolulu. Opening is Halau ‘o Keikiali‘i, a Hawaiian group based in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10604880\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10604880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg\" alt=\"DakhaBrakha\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/DakhaBrakha.jpg 467w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DakhaBrakha \u003ccite>(By Olga Zakrevska)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 19\u003c/strong>: \u003cstrong>tUnE-yArDs and DakhaBrakha\u003c/strong>. “Wacky” is one way to describe \u003ca href=\"http://tune-yards.com/\">tune-yArDs\u003c/a>, an American group led by \u003ca href=\"https://twitter.com/tuneyards\">Merrill Garbus\u003c/a> that, on YouTube, gets millions of views with its theatrical songs like “\u003ca href=\"https://www.youtube.com/watch?v=YQ1LI-NTa2s\">Bizness\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=AwDEQWaSiEU\">Real Live Flesh\u003c/a>.” \u003ca href=\"http://www.dakhabrakha.com.ua/eng/BAND\">DakhaBrakha\u003c/a> is a Ukrainian quartet that on songs like “\u003ca href=\"https://www.youtube.com/watch?v=bJvbC1MREuQ\">Baby\u003c/a>” channels the spirit of cultures around the world, including America’s. The two groups’ songs occasionally intersect in memorable ways.\u003c/p>\n\u003cp>\u003cstrong>July 26: San Francisco Ballet\u003c/strong>. Two months after the \u003ca href=\"https://www.sfballet.org/\">San Francisco Ballet\u003c/a> completes its 2015 repertory season, it performs excerpts from the repertory \u003cem>en plein air\u003c/em> at Stern Grove.\u003c/p>\n\u003cp>\u003cstrong>August 2: Mary Chapin Carpenter and Bhi Bhiman\u003c/strong>. Country-ish singer Mary Chapin Carpenter — she of hits like “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">I Feel Lucky\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=KTphubOchF4\">Passionate Kisses\u003c/a>” — is twinned with \u003ca href=\"http://www.pledgemusic.com/artists/bhibhiman\">Bhi Bhiman\u003c/a>, who is grounded in American roots music that references his Sri Lankan roots, as in the song “\u003ca href=\"https://www.youtube.com/watch?v=_YP1lIEM1s4\">Guttersnipe\u003c/a>.” The pairing is yin and yang, with Carpenter’s slick sound a bookend to Bhiman’s more soulful expressions about life on the edge.\u003c/p>\n\u003cp>\u003cstrong>August 9: Morris Day & The Time and Con Brio\u003c/strong>. History will be kind to \u003ca href=\"http://en.wikipedia.org/wiki/Morris_Day\">Morris Day\u003c/a>, who first made a big name for himself with Prince in the 1984 movie \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Purple_Rain_%28film%29\">Purple Rain\u003c/a>\u003c/em>. Thirty years on, “\u003ca href=\"https://www.youtube.com/watch?v=919Gt1SczVY\">Jungle Love\u003c/a>” holds up as a raucous plea for love and physical contact. The Time, Day’s longtime group, cranks up the energy levels that Day feeds off of. \u003ca href=\"http://www.thebandconbrio.com/home/band/\">Con Brio\u003c/a> is in that same orbit, playing the kind of funk and soul that drives people into fits of delight.\u003c/p>\n\u003cfigure id=\"attachment_10605025\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10605025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg\" alt=\"Talib Kweli\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Talibkweli.jpg 640w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Talib Kweli \u003ccite>(Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August 16: Talib Kweli and Zakiya Harris\u003c/strong>. \u003ca href=\"http://www.talibkweli.com/\">Talib Kweli\u003c/a> wants to change the world with his brand of hip-hop, exemplified by “\u003ca href=\"https://www.youtube.com/watch?v=UVtpXvzzXiA\">Get By\u003c/a>,” a smart and moving hit that references drug dealing, consumerism, Norman Mailer, John Lennon, the U.S. prison system, and scores of other names and subjects to comment on the state of the world. \u003ca href=\"http://www.zakiyaharris.com/\">Zakiya Harris\u003c/a> is also doing her best to change the world, through teaching, organizing, and, yes, \u003ca href=\"http://www.zakiyaharris.com/music/\">making music\u003c/a> that’s important to hear.\u003c/p>\n\u003cp>To emphasize the connection between art, audience, and the festival’s natural setting, Stern Grove organizers commissioned seven of this year’s performers – all from the Bay Area – to create works for a series called “Interplay: Artists in Concert With Nature.” The seven performers: California Honeydrops; Pacific Mambo Orchestra; Con Brio; Hot Club of San Francisco; Hālau o Keikiali’I; Bhi Bhiman; Zakiya Harris, featuring the group Elephantine. So each of these seven will do works never heard prior to their Stern Grove performance. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stern Grove Festival runs every Sunday from June 14 to August 16 at San Francisco’s Stern Grove, 19th Avenue and Sloat Boulevard. All concerts are free and start at 2pm. \u003ca href=\"http://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: D'Angelo and the Vanguard",
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"content": "\u003cp>Get your clicking finger ready: There’s going to be stiff competition for tickets when the reigning king of neo-soul finally makes it back to the Bay Area for the first time since 2000 (when he rocked the Paramount Theatre in front of\u003ca href=\"http://www.austinchronicle.com/music/2000-04-21/76918/\" target=\"_blank\" rel=\"noopener\"> an adoring, sold-out crowd\u003c/a> on two consecutive nights).\u003c/p>\n\u003cp>To be honest, we’re still feeling just a \u003cem>little\u003c/em> bit burned from his scheduled-and-missed appearance at Outside Lands in 2013, a set he \u003ca href=\"http://www.sfweekly.com/shookdown/2013/08/07/dangelo-cancels-outside-lands-set-nile-rodgers-and-chic-to-perform-instead\" target=\"_blank\" rel=\"noopener\">canceled due to illness\u003c/a>. On the other hand: He’ll be making it up to us not only with a set at this year’s festival, which runs Aug. 7 through 9, but with this newly announced\u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\"> stand-alone show\u003c/a> at the \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater in Oakland\u003c/a> on June 7, as part of his national tour (“The Second Coming,” a tour name very few others could get away with) for \u003cem>Black Messiah\u003c/em>.\u003c/p>\n\u003cp>Presale tickets go up for grabs Thursday, April 30 at 10am on the \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\">Fox’s website\u003c/a> with the password “rowell” (brownie points for anyone who can tell us why?). The general onsale starts Friday, May 1 at noon.\u003c/p>\n\u003cp>Though some of us may be biased about \u003cem>Black Messiah\u003c/em> (for example, those of us who listened to it at least two dozen times in the two weeks following its release), it’s among the most interesting albums of 2014 — not only for its decade-and-a-half-long incubation period, but for its funky, experimental, solidly challenging soup of politics, sex, and race relations, with sonic nods to Sly and the Family Stone, Prince, Jimi Hendrix, Marley Marl, and more.\u003c/p>\n\u003cp>And hey, if there were any doubt about D’Angelo’s ability to still deliver a mind-bending live performance, check out this recent set on \u003cem>Saturday Night Live\u003c/em>. We’re gonna go ahead and suggest this is worth the $49.50.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"D'Angelo, The Vanguard - Really Love (Live on SNL)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/CEph_2Qx-7Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Get your clicking finger ready: There’s going to be stiff competition for tickets when the reigning king of neo-soul finally makes it back to the Bay Area for the first time since 2000 (when he rocked the Paramount Theatre in front of\u003ca href=\"http://www.austinchronicle.com/music/2000-04-21/76918/\" target=\"_blank\" rel=\"noopener\"> an adoring, sold-out crowd\u003c/a> on two consecutive nights).\u003c/p>\n\u003cp>To be honest, we’re still feeling just a \u003cem>little\u003c/em> bit burned from his scheduled-and-missed appearance at Outside Lands in 2013, a set he \u003ca href=\"http://www.sfweekly.com/shookdown/2013/08/07/dangelo-cancels-outside-lands-set-nile-rodgers-and-chic-to-perform-instead\" target=\"_blank\" rel=\"noopener\">canceled due to illness\u003c/a>. On the other hand: He’ll be making it up to us not only with a set at this year’s festival, which runs Aug. 7 through 9, but with this newly announced\u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\"> stand-alone show\u003c/a> at the \u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Fox Theater in Oakland\u003c/a> on June 7, as part of his national tour (“The Second Coming,” a tour name very few others could get away with) for \u003cem>Black Messiah\u003c/em>.\u003c/p>\n\u003cp>Presale tickets go up for grabs Thursday, April 30 at 10am on the \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5039\" target=\"_blank\" rel=\"noopener\">Fox’s website\u003c/a> with the password “rowell” (brownie points for anyone who can tell us why?). The general onsale starts Friday, May 1 at noon.\u003c/p>\n\u003cp>Though some of us may be biased about \u003cem>Black Messiah\u003c/em> (for example, those of us who listened to it at least two dozen times in the two weeks following its release), it’s among the most interesting albums of 2014 — not only for its decade-and-a-half-long incubation period, but for its funky, experimental, solidly challenging soup of politics, sex, and race relations, with sonic nods to Sly and the Family Stone, Prince, Jimi Hendrix, Marley Marl, and more.\u003c/p>\n\u003cp>And hey, if there were any doubt about D’Angelo’s ability to still deliver a mind-bending live performance, check out this recent set on \u003cem>Saturday Night Live\u003c/em>. We’re gonna go ahead and suggest this is worth the $49.50.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Waka Flocka Flame Is Hiring",
"headTitle": "Waka Flocka Flame Is Hiring | KQED",
"content": "\u003cp>They say you can’t overestimate the power of a good handshake. If that’s the case, my job interview with Waka Flocka Flame was doomed from the start.\u003c/p>\n\u003cp>I went in for the sort of greeting I’m familiar with -– a clasp that pivots up into a grip and pulls in for a hug — but it unexpectedly continued. He raised our wrists to shoulder level, pointed his fingers out, locked them with mine … but by that point I was long since lost. He looked at me and smiled sympathetically. First impressions, I thought, resigned, are everything.\u003c/p>\n\u003cp>Months ago, I saw the VIP package deal for the New York City stop on Waka Flocka Flame’s current tour: $75 to get backstage, a photo and a personal resume review. Now I was spending a couple hours watching my prospective employer feed everyone competing for the position — scores of qualified candidates — into a blender of impossibly high expectations. He not only had each applicant’s resume read aloud to them, he made them demonstrate their skills on the spot, against the clock. He scrutinized each submission: Was it structured soundly? Was it pleasing to the eye? Was it functional, did it pack a punch? Most importantly: Could it get him and all his friends really high?\u003c/p>\n\u003cp>Waka Flocka Flame is hiring a professional blunt roller, and he is not f—ing around.\u003c/p>\n\u003cp>Flocka became one of the biggest rappers in the world in 2010 with the release of \u003cem>Flockaveli\u003c/em>, an album of monstrous, anthemic beats and endlessly-quotable lyrics. “I rap hook to hook,” \u003ca href=\"https://www.youtube.com/watch?v=7FHT82_HA9w\" target=\"_blank\" rel=\"noopener\">he said in 2012\u003c/a>. “If I don’t feel it, I can’t talk about it.” You could extend this sentiment to almost everything he does; he wants to connect person-to-person just as much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is why Flocka isn’t using a headhunter. He’s willing to review hundreds of resumes himself and eventually pay $50,000 a year to someone tasked with following him everywhere and producing the perfect blunt on command. The fans in the line that coiled through the basement of New York City’s Webster Hall hours before his sold-out show are there for the story, yes, but they also want a job that honors their particular expertise. Don’t we all?\u003c/p>\n\u003cp>Waka Flocka Flame has been trying to hire for the position since September, 2014. It was a year before that, when he was on the road in Europe for six months, that he realized he needed professional assistance. “How polished is it if you wake up in the morning, you’ve got like five rolled, with breakfast right there?” he asks me. “I can’t see nothing more beautiful except waking up next to your wife and your daughter.” The job, as he imagines it, will require travel and flexibility. “I don’t smoke a lot no more every day,” he said, three joints splayed out before him. “I might not smoke a blunt for two days, three days. But then one day you might run through 100 blunts. You might end up rolling up a quarter pound. I’m talking about finger cramps.”\u003c/p>\n\u003cp>A demanding gig, no doubt. But worth it if you consider the spoils. The salary, the free weed and the prestige of having out-twisted the competition to be America’s foremost weed craftsman aside, let’s say you’re one of these humble stoners. Years of smoking under your belt. Deceptions on deceptions on deceptions, plus some white lies, hiding your habit from your family, your employer, society. And all the while, alone and in private gatherings with friends or at concerts, you hone your craft. And now, thanks to an enterprising rapper, champion of your cause, you might emerge from the shadows. Validation.\u003c/p>\n\u003cp>But in the end, it’s all about the blunt. In its platonic form it’s as long and wide as a man’s middle finger, but conical and smooth. Tightly packed and sturdy enough to bounce when thrown on a table without splitting and spilling its guts. This skill, galvanized in the pressure cooker of illicit fetish, is what Flocka is looking for. “Everybody thinks I’m playing,” he told me between applicants. “But I’m so serious.”\u003c/p>\n\u003cfigure id=\"attachment_10605893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg\" alt=\"Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10605893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>If there ever were a time to find this talent, it was that night: 4/20, the pothead’s Christmas. Maybe they were in that very room. After some \u003ca href=\"http://www.rollingstone.com/music/videos/waka-flocka-flame-for-president-watch-his-exclusive-campaign-video-20150420\" target=\"_blank\" rel=\"noopener\">very presidential\u003c/a> grip-and-grabs, Flocka, along with his two openers, Azizi Gibson and Ben G, took his place behind a desk to find out.\u003c/p>\n\u003cp>They sit three across like \u003cem>American Idol\u003c/em> judges to receive their first applicant, a skinny kid named Cody Watson. He came prepared. With a gold watch on his wrist, he opens a three-ring binder to begin a business school pitch comp-level presentation. First, the products. He presents three breeds: “studio,” “squad,” and “stage,” fine-tuned in weight, mixture and roll to suit each circumstance. It’s as close as you can get to “try-before-you-buy” without actually toking up. He displays some certification he got in California. The judges are impressed and take his number down.\u003c/p>\n\u003cp>The next guy is less concerned with politesse. He didn’t bring a resume, but he isn’t empty-handed. He whips out rolling papers and a bag of weed and starts rolling. The idea might be ballsy, but he’s not. His hands are shaking, sweat filming his forehead. Flocka imagines a scenario to put him in the pressure cooker. “There’s a $10 million deal on the line,” he says. “Can you perform?” How the blunt helps in that scenario is unclear, but irrelevant: the kid is quivering so badly that ground up weed is spilling on the interview desk. He finally wraps up a conical joint, with the clock ticking to zero. Flocka examines it. “It’s a little lumpy,” he says, dismissing him. “We’re gonna call you ‘Shakes.’ ”\u003c/p>\n\u003cp>Next up is JP. He’s only got one tape on his phone, Flocka’s new mixtape, \u003cem>Salute Me or Shoot Me V\u003c/em>. He whips out a pathetically small joint. “This guy won’t get his left ear high,” Ben G scoffs, signaling the hook.\u003c/p>\n\u003cp>Candidates file in quickly and are dispatched just as fast. One shows up without weed, even though he claims he’s been rolling since he was 10. He’s denied, but hands Flocka a free pair of Capri-cut sweatpants, which may have been his original intent, before walking out. The next, in skintight weed leaf jeans, offers a tiny blunt, which is derisively deemed a “mosquito head” and swiftly rejected.\u003c/p>\n\u003cp>Another guy named Cody shows up. He is empty-handed.\u003c/p>\n\u003cp>“I don’t really roll blunts, but I can learn,” he Hail Marys.\u003c/p>\n\u003cp>He gets a long stare.\u003c/p>\n\u003cp>“You like playing Xbox?” Waka Flocka asks.\u003c/p>\n\u003cp>“Um, yeah, I play …”\u003c/p>\n\u003cp>“Play Xbox, don’t play me.”\u003c/p>\n\u003cp>His look of bafflement irritates Waka. He’s been very clear. This is not a joke. “Can you handle drinking every night? Smoking blunts? If you wake up hungover, you’re fired!”\u003c/p>\n\u003cp>Another candidate claims she was frisked at the door. “If you can’t smuggle dope into the building, how will you conceal it from the police?” Amateurs.\u003c/p>\n\u003cp>Now he has getting pulled over on his mind. “We’re all on the bus, we’ve got three ounces of weed. What do we do?” Flocka grills Nikita and Scott, artisans who made it to a second round of questioning. “Throw it out the window?” Nikita offers. Flocka covers his face. “Not the best answer.”\u003c/p>\n\u003cp>The line dwindles as Flocka cheerfully obliges pictures and handshakes from those not interviewing, autographs paraphernalia and vetoes joints extracted from socks and bras. An older Irish woman asks him to sign some posters. A Cameroonian man blesses him with a shaman’s stick and passes forward a travel guide to his country. Flocka must be five joints deep now, but he’s still kissing babies, as it were.\u003c/p>\n\u003cp>The room finally clears, there’s just one applicant left.\u003c/p>\n\u003cp>Me.\u003c/p>\n\u003cp>Having watched Waka Flocka Flame’s rigorous gauntlet leave only a few standing, I don’t like my chances. I’ve got sweaty palms. Most of my experience with weed is secondhand. Worse, I’ve never rolled a blunt before. What am I doing here?\u003c/p>\n\u003cp>Flocka looks at me. “We’ve got a resume,” he calls to Azizi and Ben G. The panel recites my cover letter. “You were the first person to bring a recommendation letter,” Flocka says. “But you’re not the first person to show up without a blunt. All of this has nothing to do with rolling marijuana.” “So that’s a no?” I ask, as if I didn’t know the answer. “I think you’re overqualified for the position,” he notifies me, kindly. Another rejection on the road to perfection.\u003c/p>\n\u003cp>Flocka took the stage as I drowned my disappointment in a beer. The audience broke into a moshpit almost immediately. Bras flew onstage. His bouncers were throwing water bottles to the throng, and he made it three — maybe four — songs into his set before diving in with the crowd. On the balcony fans squeeze against the banister, and I watch through their phone screens as Flocka bounds into the pit in front of the stage and throws his body onto his people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He’s there with a blunt in his mouth as they lift him up, higher and higher, over the barrier. He’s there, in the crowd now, tossed through strangers that turn to him like iron filings to a magnet. He’s there, among his people, closer to them than to the show itself. They look to him, and he looks back. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Waka+Flocka+Flame+Is+Hiring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say you can’t overestimate the power of a good handshake. If that’s the case, my job interview with Waka Flocka Flame was doomed from the start.\u003c/p>\n\u003cp>I went in for the sort of greeting I’m familiar with -– a clasp that pivots up into a grip and pulls in for a hug — but it unexpectedly continued. He raised our wrists to shoulder level, pointed his fingers out, locked them with mine … but by that point I was long since lost. He looked at me and smiled sympathetically. First impressions, I thought, resigned, are everything.\u003c/p>\n\u003cp>Months ago, I saw the VIP package deal for the New York City stop on Waka Flocka Flame’s current tour: $75 to get backstage, a photo and a personal resume review. Now I was spending a couple hours watching my prospective employer feed everyone competing for the position — scores of qualified candidates — into a blender of impossibly high expectations. He not only had each applicant’s resume read aloud to them, he made them demonstrate their skills on the spot, against the clock. He scrutinized each submission: Was it structured soundly? Was it pleasing to the eye? Was it functional, did it pack a punch? Most importantly: Could it get him and all his friends really high?\u003c/p>\n\u003cp>Waka Flocka Flame is hiring a professional blunt roller, and he is not f—ing around.\u003c/p>\n\u003cp>Flocka became one of the biggest rappers in the world in 2010 with the release of \u003cem>Flockaveli\u003c/em>, an album of monstrous, anthemic beats and endlessly-quotable lyrics. “I rap hook to hook,” \u003ca href=\"https://www.youtube.com/watch?v=7FHT82_HA9w\" target=\"_blank\" rel=\"noopener\">he said in 2012\u003c/a>. “If I don’t feel it, I can’t talk about it.” You could extend this sentiment to almost everything he does; he wants to connect person-to-person just as much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is why Flocka isn’t using a headhunter. He’s willing to review hundreds of resumes himself and eventually pay $50,000 a year to someone tasked with following him everywhere and producing the perfect blunt on command. The fans in the line that coiled through the basement of New York City’s Webster Hall hours before his sold-out show are there for the story, yes, but they also want a job that honors their particular expertise. Don’t we all?\u003c/p>\n\u003cp>Waka Flocka Flame has been trying to hire for the position since September, 2014. It was a year before that, when he was on the road in Europe for six months, that he realized he needed professional assistance. “How polished is it if you wake up in the morning, you’ve got like five rolled, with breakfast right there?” he asks me. “I can’t see nothing more beautiful except waking up next to your wife and your daughter.” The job, as he imagines it, will require travel and flexibility. “I don’t smoke a lot no more every day,” he said, three joints splayed out before him. “I might not smoke a blunt for two days, three days. But then one day you might run through 100 blunts. You might end up rolling up a quarter pound. I’m talking about finger cramps.”\u003c/p>\n\u003cp>A demanding gig, no doubt. But worth it if you consider the spoils. The salary, the free weed and the prestige of having out-twisted the competition to be America’s foremost weed craftsman aside, let’s say you’re one of these humble stoners. Years of smoking under your belt. Deceptions on deceptions on deceptions, plus some white lies, hiding your habit from your family, your employer, society. And all the while, alone and in private gatherings with friends or at concerts, you hone your craft. And now, thanks to an enterprising rapper, champion of your cause, you might emerge from the shadows. Validation.\u003c/p>\n\u003cp>But in the end, it’s all about the blunt. In its platonic form it’s as long and wide as a man’s middle finger, but conical and smooth. Tightly packed and sturdy enough to bounce when thrown on a table without splitting and spilling its guts. This skill, galvanized in the pressure cooker of illicit fetish, is what Flocka is looking for. “Everybody thinks I’m playing,” he told me between applicants. “But I’m so serious.”\u003c/p>\n\u003cfigure id=\"attachment_10605893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg\" alt=\"Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10605893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>If there ever were a time to find this talent, it was that night: 4/20, the pothead’s Christmas. Maybe they were in that very room. After some \u003ca href=\"http://www.rollingstone.com/music/videos/waka-flocka-flame-for-president-watch-his-exclusive-campaign-video-20150420\" target=\"_blank\" rel=\"noopener\">very presidential\u003c/a> grip-and-grabs, Flocka, along with his two openers, Azizi Gibson and Ben G, took his place behind a desk to find out.\u003c/p>\n\u003cp>They sit three across like \u003cem>American Idol\u003c/em> judges to receive their first applicant, a skinny kid named Cody Watson. He came prepared. With a gold watch on his wrist, he opens a three-ring binder to begin a business school pitch comp-level presentation. First, the products. He presents three breeds: “studio,” “squad,” and “stage,” fine-tuned in weight, mixture and roll to suit each circumstance. It’s as close as you can get to “try-before-you-buy” without actually toking up. He displays some certification he got in California. The judges are impressed and take his number down.\u003c/p>\n\u003cp>The next guy is less concerned with politesse. He didn’t bring a resume, but he isn’t empty-handed. He whips out rolling papers and a bag of weed and starts rolling. The idea might be ballsy, but he’s not. His hands are shaking, sweat filming his forehead. Flocka imagines a scenario to put him in the pressure cooker. “There’s a $10 million deal on the line,” he says. “Can you perform?” How the blunt helps in that scenario is unclear, but irrelevant: the kid is quivering so badly that ground up weed is spilling on the interview desk. He finally wraps up a conical joint, with the clock ticking to zero. Flocka examines it. “It’s a little lumpy,” he says, dismissing him. “We’re gonna call you ‘Shakes.’ ”\u003c/p>\n\u003cp>Next up is JP. He’s only got one tape on his phone, Flocka’s new mixtape, \u003cem>Salute Me or Shoot Me V\u003c/em>. He whips out a pathetically small joint. “This guy won’t get his left ear high,” Ben G scoffs, signaling the hook.\u003c/p>\n\u003cp>Candidates file in quickly and are dispatched just as fast. One shows up without weed, even though he claims he’s been rolling since he was 10. He’s denied, but hands Flocka a free pair of Capri-cut sweatpants, which may have been his original intent, before walking out. The next, in skintight weed leaf jeans, offers a tiny blunt, which is derisively deemed a “mosquito head” and swiftly rejected.\u003c/p>\n\u003cp>Another guy named Cody shows up. He is empty-handed.\u003c/p>\n\u003cp>“I don’t really roll blunts, but I can learn,” he Hail Marys.\u003c/p>\n\u003cp>He gets a long stare.\u003c/p>\n\u003cp>“You like playing Xbox?” Waka Flocka asks.\u003c/p>\n\u003cp>“Um, yeah, I play …”\u003c/p>\n\u003cp>“Play Xbox, don’t play me.”\u003c/p>\n\u003cp>His look of bafflement irritates Waka. He’s been very clear. This is not a joke. “Can you handle drinking every night? Smoking blunts? If you wake up hungover, you’re fired!”\u003c/p>\n\u003cp>Another candidate claims she was frisked at the door. “If you can’t smuggle dope into the building, how will you conceal it from the police?” Amateurs.\u003c/p>\n\u003cp>Now he has getting pulled over on his mind. “We’re all on the bus, we’ve got three ounces of weed. What do we do?” Flocka grills Nikita and Scott, artisans who made it to a second round of questioning. “Throw it out the window?” Nikita offers. Flocka covers his face. “Not the best answer.”\u003c/p>\n\u003cp>The line dwindles as Flocka cheerfully obliges pictures and handshakes from those not interviewing, autographs paraphernalia and vetoes joints extracted from socks and bras. An older Irish woman asks him to sign some posters. A Cameroonian man blesses him with a shaman’s stick and passes forward a travel guide to his country. Flocka must be five joints deep now, but he’s still kissing babies, as it were.\u003c/p>\n\u003cp>The room finally clears, there’s just one applicant left.\u003c/p>\n\u003cp>Me.\u003c/p>\n\u003cp>Having watched Waka Flocka Flame’s rigorous gauntlet leave only a few standing, I don’t like my chances. I’ve got sweaty palms. Most of my experience with weed is secondhand. Worse, I’ve never rolled a blunt before. What am I doing here?\u003c/p>\n\u003cp>Flocka looks at me. “We’ve got a resume,” he calls to Azizi and Ben G. The panel recites my cover letter. “You were the first person to bring a recommendation letter,” Flocka says. “But you’re not the first person to show up without a blunt. All of this has nothing to do with rolling marijuana.” “So that’s a no?” I ask, as if I didn’t know the answer. “I think you’re overqualified for the position,” he notifies me, kindly. Another rejection on the road to perfection.\u003c/p>\n\u003cp>Flocka took the stage as I drowned my disappointment in a beer. The audience broke into a moshpit almost immediately. Bras flew onstage. His bouncers were throwing water bottles to the throng, and he made it three — maybe four — songs into his set before diving in with the crowd. On the balcony fans squeeze against the banister, and I watch through their phone screens as Flocka bounds into the pit in front of the stage and throws his body onto his people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s there with a blunt in his mouth as they lift him up, higher and higher, over the barrier. He’s there, in the crowd now, tossed through strangers that turn to him like iron filings to a magnet. He’s there, among his people, closer to them than to the show itself. They look to him, and he looks back. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Waka+Flocka+Flame+Is+Hiring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "WATERS: More Than a Party",
"headTitle": "WATERS: More Than a Party | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matt-kim/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>WATERS\u003c/h2>\n\u003cdiv class=\"event-desc\">Bay Area quintet open for Matt & Kim.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Warfield\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matt-kim/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Early this April, the Bay Area rock band WATERS made their \u003ca href=\"https://www.youtube.com/watch?v=7yPkPg-4dRo\">late-night TV debut on \u003cem>Conan\u003c/em>\u003c/a>, ripping through “Got To My Head,” the lead single from their new album \u003cem>What’s Real\u003c/em>.\u003c/p>\n\u003cp>On a stage set with bouquets of flowers evoking both the album’s cover art and Nirvana’s famous flower-filled MTV performance, front man Van Pierszalowski bounced on his feet as if the stage were on fire, his blond hair spinning around his head like helicopter blades. The rest of the band matched his fervent energy, pounding drums and howling backup vocals like it was their last gig ever.\u003c/p>\n\u003cp>Although WATERS doesn’t possess the nuance of more finicky groups like the Arcade Fire, opting instead for gargantuan hooks and chunky riffs, their performance revealed a similar urgency. Like most of \u003cem>What’s Real\u003c/em>, “Got To My Head” is gloriously simplistic, three minutes of utilitarian, anthemic rock ‘n’ roll. But even with the sweet flowers, O’Brien’s giddy congratulations and the beaming backup singers, you could tell that not everything was as it seemed: the song was still desperately sad.\u003c/p>\n\u003cp>Pierszalowski first gained attention in the second half of the aughts as the co-frontman of the mellow, often acoustic group \u003ca href=\"https://www.youtube.com/watch?v=FmfjDK6Nj6s\">Port O’Brien\u003c/a>. Although many of those songs felt restrained, they hinted at a grandeur to come. The group dissolved in 2011, and soon after, Pierszalowski wrote what became WATERS’ debut, \u003cem>Out in the Light\u003c/em>, while living in Oslo and “romancing a particular girl.”\u003c/p>\n\u003cp>The album, produced by John Congleton (St. Vincent, Brian Wilson, Earl Sweatshirt) in Dallas, was far grittier than Port O’Brien; his voice and guitar were distorted and scratchy, and the songs \u003cem>felt\u003c/em> like the blues even if they didn’t sound like it. As Pierszalowski explains to me in a recent phone interview, “I wanted to make it really raw, loud, [full of Nirvana’s] \u003cem>In Utero \u003c/em>drum sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While on the road in support of \u003cem>Out in the Light\u003c/em>, Pierszalowski says he heard a lot of what he calls “alt-rock” on the radio. He wasn’t impressed by the bulk of the subject material: dancing, partying, hanging out with friends. “For me, that kind of stuff is cool,” Pierszalowski says, “but that’s what pop radio is for.” Rock and roll, he continues, “is not about that, it’s about having an escape, real and meaningful.” So Pierszalowski set about writing songs that celebrated the same sensibilities of his rock heroes, bands like Weezer and Green Day, but tackled much tougher subject material: heartbreak, anger and fear.\u003c/p>\n\u003cp>The result is \u003cem>What’s Real\u003c/em>. Although over the course of its 11 songs Pierszalowski and the band stuff huge hooks and riffs anywhere they can, these big catchy moments only provide a foil for Pierszalowski’s bitterness and anger. The feelings are blunt, deadpan, the sound of “trying to not be too cool at all,” Pierszalowski says. On “I Feel Everything,” the band shows their cards upfront, opening with a colossal wordless pre-chorus before Pierszalowski echoes Kurt Cobain’s menacing refrain on “Come As You Are”: “You found my brother’s gun / I think it’s more fun like that.”\u003c/p>\n\u003cp>Later, “Stupid Games” sparkles with chipper synthesizers and a snappy B-52s groove, but quickly reveals a manipulative and resentful narrator: “I walk away with another / Yeah, I’ll cop a feel but I’m tired of these,” Pierszalowski snarls. On the album’s cover, an immaculate bouquet of photos sits in the center, a picture of serenity. You don’t have to look too hard, however, to notice that it’s on fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>WATERS is currently touring the U.S. with the hook-driven duo Matt & Kim; both groups bring their fist-pumping anthems to the Warfield on May 2. And even though only three members of WATERS still live in the Bay Area, they are still, at heart, a San Francisco band. And while they’ll inevitably bring all of the excitement and energy that hometown shows provide, don’t forget that something else lurks under the surface — WATERS’ music is more than just a party. It’s an escape.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matt-kim/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>WATERS\u003c/h2>\n\u003cdiv class=\"event-desc\">Bay Area quintet open for Matt & Kim.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Warfield\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matt-kim/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Early this April, the Bay Area rock band WATERS made their \u003ca href=\"https://www.youtube.com/watch?v=7yPkPg-4dRo\">late-night TV debut on \u003cem>Conan\u003c/em>\u003c/a>, ripping through “Got To My Head,” the lead single from their new album \u003cem>What’s Real\u003c/em>.\u003c/p>\n\u003cp>On a stage set with bouquets of flowers evoking both the album’s cover art and Nirvana’s famous flower-filled MTV performance, front man Van Pierszalowski bounced on his feet as if the stage were on fire, his blond hair spinning around his head like helicopter blades. The rest of the band matched his fervent energy, pounding drums and howling backup vocals like it was their last gig ever.\u003c/p>\n\u003cp>Although WATERS doesn’t possess the nuance of more finicky groups like the Arcade Fire, opting instead for gargantuan hooks and chunky riffs, their performance revealed a similar urgency. Like most of \u003cem>What’s Real\u003c/em>, “Got To My Head” is gloriously simplistic, three minutes of utilitarian, anthemic rock ‘n’ roll. But even with the sweet flowers, O’Brien’s giddy congratulations and the beaming backup singers, you could tell that not everything was as it seemed: the song was still desperately sad.\u003c/p>\n\u003cp>Pierszalowski first gained attention in the second half of the aughts as the co-frontman of the mellow, often acoustic group \u003ca href=\"https://www.youtube.com/watch?v=FmfjDK6Nj6s\">Port O’Brien\u003c/a>. Although many of those songs felt restrained, they hinted at a grandeur to come. The group dissolved in 2011, and soon after, Pierszalowski wrote what became WATERS’ debut, \u003cem>Out in the Light\u003c/em>, while living in Oslo and “romancing a particular girl.”\u003c/p>\n\u003cp>The album, produced by John Congleton (St. Vincent, Brian Wilson, Earl Sweatshirt) in Dallas, was far grittier than Port O’Brien; his voice and guitar were distorted and scratchy, and the songs \u003cem>felt\u003c/em> like the blues even if they didn’t sound like it. As Pierszalowski explains to me in a recent phone interview, “I wanted to make it really raw, loud, [full of Nirvana’s] \u003cem>In Utero \u003c/em>drum sounds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While on the road in support of \u003cem>Out in the Light\u003c/em>, Pierszalowski says he heard a lot of what he calls “alt-rock” on the radio. He wasn’t impressed by the bulk of the subject material: dancing, partying, hanging out with friends. “For me, that kind of stuff is cool,” Pierszalowski says, “but that’s what pop radio is for.” Rock and roll, he continues, “is not about that, it’s about having an escape, real and meaningful.” So Pierszalowski set about writing songs that celebrated the same sensibilities of his rock heroes, bands like Weezer and Green Day, but tackled much tougher subject material: heartbreak, anger and fear.\u003c/p>\n\u003cp>The result is \u003cem>What’s Real\u003c/em>. Although over the course of its 11 songs Pierszalowski and the band stuff huge hooks and riffs anywhere they can, these big catchy moments only provide a foil for Pierszalowski’s bitterness and anger. The feelings are blunt, deadpan, the sound of “trying to not be too cool at all,” Pierszalowski says. On “I Feel Everything,” the band shows their cards upfront, opening with a colossal wordless pre-chorus before Pierszalowski echoes Kurt Cobain’s menacing refrain on “Come As You Are”: “You found my brother’s gun / I think it’s more fun like that.”\u003c/p>\n\u003cp>Later, “Stupid Games” sparkles with chipper synthesizers and a snappy B-52s groove, but quickly reveals a manipulative and resentful narrator: “I walk away with another / Yeah, I’ll cop a feel but I’m tired of these,” Pierszalowski snarls. On the album’s cover, an immaculate bouquet of photos sits in the center, a picture of serenity. You don’t have to look too hard, however, to notice that it’s on fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>WATERS is currently touring the U.S. with the hook-driven duo Matt & Kim; both groups bring their fist-pumping anthems to the Warfield on May 2. And even though only three members of WATERS still live in the Bay Area, they are still, at heart, a San Francisco band. And while they’ll inevitably bring all of the excitement and energy that hometown shows provide, don’t forget that something else lurks under the surface — WATERS’ music is more than just a party. It’s an escape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s no secret that Oakland R&B goddess \u003ca href=\"http://www.kehlanimusic.com/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> has been on a swift ascendance lately, especially after the pure heat of last year’s \u003ca href=\"http://www.datpiff.com/Kehlani-Cloud-19-mixtape.642820.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Cloud 19\u003c/em> mixtape\u003c/a>. Her new album \u003cem>You Should Be Here\u003c/em> \u003cstrike>comes out this week\u003c/strike> \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">is out now\u003c/a>, and as a teaser she posted up the album’s first single: “\u003ca href=\"https://www.youtube.com/watch?v=V5kqg-9JMxw\" target=\"_blank\" rel=\"noopener\">The Way\u003c/a>,” featuring none other than Chance the Rapper.\u003c/p>\n\u003cp>Now, the entire album is streaming via Soundcloud. Hear it below, and \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">pick it up here\u003c/a>.\u003c/p>\n\u003cp>“I’m honestly so happy I could cry,” Kehlani \u003ca href=\"https://twitter.com/kehlanimusic/status/592891800823672833\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> at the time of the album’s release. “I worked really hard on this and showed a whole new side of myself. I hope you all enjoy it.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/102407656″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no secret that Oakland R&B goddess \u003ca href=\"http://www.kehlanimusic.com/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> has been on a swift ascendance lately, especially after the pure heat of last year’s \u003ca href=\"http://www.datpiff.com/Kehlani-Cloud-19-mixtape.642820.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Cloud 19\u003c/em> mixtape\u003c/a>. Her new album \u003cem>You Should Be Here\u003c/em> \u003cstrike>comes out this week\u003c/strike> \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">is out now\u003c/a>, and as a teaser she posted up the album’s first single: “\u003ca href=\"https://www.youtube.com/watch?v=V5kqg-9JMxw\" target=\"_blank\" rel=\"noopener\">The Way\u003c/a>,” featuring none other than Chance the Rapper.\u003c/p>\n\u003cp>Now, the entire album is streaming via Soundcloud. Hear it below, and \u003ca href=\"https://itunes.apple.com/us/album/you-should-be-here/id978841647\" target=\"_blank\" rel=\"noopener\">pick it up here\u003c/a>.\u003c/p>\n\u003cp>“I’m honestly so happy I could cry,” Kehlani \u003ca href=\"https://twitter.com/kehlanimusic/status/592891800823672833\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> at the time of the album’s release. “I worked really hard on this and showed a whole new side of myself. I hope you all enjoy it.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/102407656″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/playlists/102407656″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco singer, composer and organizer \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> just released her video for “Kemekem (I Like Your Afro),” and it’s really got everything: a great song, a lustful pursuit, a startup office environment, an abundance of beautiful afros, a smooth-as-butter courtship and a well-placed Post-It note.\u003c/p>\n\u003cp>Director \u003ca href=\"http://www.wearescandinavia.com/director/pete-lee/\" target=\"_blank\" rel=\"noopener\">Pete Lee\u003c/a> says that when the song was explained to him — “the lyrics were about this romance on the down-low, very taboo, and nobody else in the village could ever know the two were in love,” he tells me — he knew he had to update it to the Bay Area in the 21st Century for the video. “And inter-office romance,” Lee notes, “is one of the last bastions of forbidden romances.”\u003c/p>\n\u003cfigure id=\"attachment_10587330\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ziek1.jpg\" alt='Shawnrey Notto and Ziek McCarter in \"Kemekem.\"' width=\"640\" height=\"377\" class=\"size-full wp-image-10587330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1-400x236.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shawnrey Notto and Ziek McCarter in “Kemekem.”\u003c/figcaption>\u003c/figure>\n\u003cp>Enter the Oakland startup Monsoon, located amidst a former bank vault right off Frank Ogawa Plaza in downtown Oakland, where “Kemekem” was shot. “We were looking for ugly old-style cubicles, but those don’t seem to exist anymore in the Bay Area,” Lee says. “Everywhere just has yoga balls and stuff.”\u003c/p>\n\u003cp>As for the couple in the plot, the slow-burning choreography comes courtesy of Shawnrey Notto — the fairer half of the pair — and locals might recognize the gentleman caller as none other than Con Brio’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a>. As for Meklit herself, “I truly think it’s the best thing I’ve ever done,” she says.\u003c/p>\n\u003cp>And what about that Post-It? Was it an accident that stayed in the final cut? Not so, says Lee. “It actually took a while to get the Post-It perfect in her hair!” he laughs. “They don’t make Post-Its as sticky as they used to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meklit’s new album, \u003cem>We Are Alive\u003c/em>, was \u003ca href=\"http://www.sixdegreesrecords.com/meklit-we-are-alive/\" target=\"_blank\" rel=\"noopener\">released just last month\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco singer, composer and organizer \u003ca href=\"http://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> just released her video for “Kemekem (I Like Your Afro),” and it’s really got everything: a great song, a lustful pursuit, a startup office environment, an abundance of beautiful afros, a smooth-as-butter courtship and a well-placed Post-It note.\u003c/p>\n\u003cp>Director \u003ca href=\"http://www.wearescandinavia.com/director/pete-lee/\" target=\"_blank\" rel=\"noopener\">Pete Lee\u003c/a> says that when the song was explained to him — “the lyrics were about this romance on the down-low, very taboo, and nobody else in the village could ever know the two were in love,” he tells me — he knew he had to update it to the Bay Area in the 21st Century for the video. “And inter-office romance,” Lee notes, “is one of the last bastions of forbidden romances.”\u003c/p>\n\u003cfigure id=\"attachment_10587330\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ziek1.jpg\" alt='Shawnrey Notto and Ziek McCarter in \"Kemekem.\"' width=\"640\" height=\"377\" class=\"size-full wp-image-10587330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ziek1-400x236.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shawnrey Notto and Ziek McCarter in “Kemekem.”\u003c/figcaption>\u003c/figure>\n\u003cp>Enter the Oakland startup Monsoon, located amidst a former bank vault right off Frank Ogawa Plaza in downtown Oakland, where “Kemekem” was shot. “We were looking for ugly old-style cubicles, but those don’t seem to exist anymore in the Bay Area,” Lee says. “Everywhere just has yoga balls and stuff.”\u003c/p>\n\u003cp>As for the couple in the plot, the slow-burning choreography comes courtesy of Shawnrey Notto — the fairer half of the pair — and locals might recognize the gentleman caller as none other than Con Brio’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a>. As for Meklit herself, “I truly think it’s the best thing I’ve ever done,” she says.\u003c/p>\n\u003cp>And what about that Post-It? Was it an accident that stayed in the final cut? Not so, says Lee. “It actually took a while to get the Post-It perfect in her hair!” he laughs. “They don’t make Post-Its as sticky as they used to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Meet Bruno Ruviaro, Composer of Other Kinds of Harmonies",
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"content": "\u003cp>We often hear about those defining moments in a person’s life that guide them into what they should be doing. For me, growing up as a young boy in a suburb of St. Louis taught me to listen deeply. I recall so vividly the thunderstorms rolling through those midwestern nights, and how I would often fight off sleep just to lay there in the dark and experience the crackles and booms. Perhaps moving to California in my youth where thunderstorms are the exception, not the norm, led to my passion and discovery of things like field recording, sound art, electronic and experimental music — and composers like Bruno Ruviaro.\u003c/p>\n\u003cp>Ruviaro was born in São Paulo, Brazil, and currently lives and teaches in the Bay Area. His first lessons in music began at the age of 13. Now 38, he recalls wanting to play the piano at an early age.\u003c/p>\n\u003cp>“I remember there was one distant relative that had a piano,” he says. “You know, the furniture piano nobody played? We would only go to his house occasionally and I was always fascinated by that thing in the living room. And for some reason they never really invited me to sit down and make some noise or whatever. Once I was able to say, ‘Can I touch it?’ And then they opened it. There was something about the smell, the looks, the whole thing. And I went over to it and I remember the first thing I figured out how to play was because I had seen an episode of Woody Woodpecker. It was like a wild west cartoon. There was a bank robber trying to escape by hiding inside a piano in the saloon. The bank robber from inside the piano says to Woody, ‘You don’t tell anyone or else!’ And then with the end of the gun he plays…” [Ruviaro walks over to a piano sitting beside me and plays the notes from his childhood memory. He comes to learn it was Chopin’s “Funeral March.”]\u003c/p>\n\u003cp>\u003cstrong>[soundcloud url=”https://api.soundcloud.com/tracks/201648617″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/strong>\u003c/p>\n\u003cp>Despite his inclination to play the piano, Ruviaro’s first two years of music lessons were on the organ. “The methods they used at the time for organ contained a mix of classical and popular music. It was a little unusual,” he said. “In the same book you would have some arrangements of Beethoven pieces and then some arrangements of Beetles pieces. It was a really crazy mix. And because it was organ, they didn’t make piano-like arrangements, they made arrangements where you had the melody, and then the chords on the left hand. Pretty much how a guitar player would read music. So from the beginning I actually learned how to read chords like a popular musician would learn. I think that stayed with me. That was a very valuable thing. When I moved to piano there was no turning back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After finishing his Undergrad studies in Brazil, Ruviaro worked for two years with a theater company in São Paulo. “It was a really amazing experience,” he said. “I was just making the music for their plays. I would not only compose the music, but I was also there every night. It was mostly pre-recorded, someone else could do it, but I wanted to be there because it was so much mixing and sound balancing and hitting the right cue at the right time. So I was in a way playing the music, not like a pianist, but delivering the music together with the play.”\u003c/p>\n\u003cp>Ruviaro moved to the U.S. to continue his studies in electronic music in 2002. From 2002–2004 he worked toward a master of arts in electroacoustic music at \u003ca title=\"Dartmouth\" href=\"http://music.dartmouth.edu/graduate/people\" target=\"_blank\" rel=\"noopener\">Dartmouth\u003c/a>. After Dartmouth, Ruviaro headed west. From 2004–2010 he attended \u003ca title=\"Stanford University\" href=\"https://music.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> where he continued to study electronic music in parallel with acoustic music composition. He earned his doctorate from Stanford in 2010 and then taught at the renowned \u003ca title=\"CCRMA\" href=\"https://ccrma.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> (CCRMA) for two years.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/192181431″]\u003c/p>\n\u003cp>He accepted a teaching position at \u003ca title=\"Santa Clara University\" href=\"https://www.scu.edu/profiles/?p=5186\" target=\"_blank\" rel=\"noopener\">Santa Clara University\u003c/a> in 2012, where Ruviaro now heads up the electronic music department. “One of the things I liked when I came to visit for the interview was that this department was already very much in syntony with new music, experimental music and trying to be innovative or find interesting ways to teach music — even at a more basic level,” he said.\u003c/p>\n\u003cp>SCU already had the New Music Festival happening every so many years, but they didn’t have much in the way of electronic music. Ruviaro was hired to implement an electronic music program. One of the first things he launched was Santa Clara University’s Laptop Orchestra, affectionately known as \u003ca title=\"SCLOrk\" href=\"http://cms.scu.edu/cas/music/news/index.cfm?b=644&c=20241\" target=\"_blank\" rel=\"noopener\">SCLOrk\u003c/a>. Ruviaro describes it as the main project; now, the music department has three or four electronic classes built into its program.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Lts9vEBCDQ8?rel=0]\u003c/p>\n\u003cp>Staying true to his experience at Dartmouth and Stanford, where students are given freedom to direct their course of study within an incredible support system, Ruviaro tells me, “You never know what people are going to come up with as long as you give them the tools, some basic knowledge to get started and the ability to learn more independently.”\u003c/p>\n\u003cp>Of course, we live in a world where attention spans are short-lived, and popular culture tends to rule the day. I ask Ruviaro how he approaches the challenge of creating in this environment.\u003c/p>\n\u003cp>“The thing that I do is often not based on a strict beat — it just requires a different kind of listening,” shares Ruviaro. “I always try to ask people in a concert to just have your ears open for different states of mind and different types of listening. Don’t frustrate yourselves trying to find a melody or a harmony. Just listen to the sounds and enjoy the flow, the sequences, the other kinds of harmonies that may show up. In that sense, it may be a little more demanding.”\u003c/p>\n\u003cp>But with greater demands often comes greater rewards.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A selection of Bruno Ruviaro’s scores, recordings, and texts can be found at \u003ca title=\"Bruno Ruviaro\" href=\"http://www.brunoruviaro.com\" target=\"_blank\" rel=\"noopener\">www.brunoruviaro.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We often hear about those defining moments in a person’s life that guide them into what they should be doing. For me, growing up as a young boy in a suburb of St. Louis taught me to listen deeply. I recall so vividly the thunderstorms rolling through those midwestern nights, and how I would often fight off sleep just to lay there in the dark and experience the crackles and booms. Perhaps moving to California in my youth where thunderstorms are the exception, not the norm, led to my passion and discovery of things like field recording, sound art, electronic and experimental music — and composers like Bruno Ruviaro.\u003c/p>\n\u003cp>Ruviaro was born in São Paulo, Brazil, and currently lives and teaches in the Bay Area. His first lessons in music began at the age of 13. Now 38, he recalls wanting to play the piano at an early age.\u003c/p>\n\u003cp>“I remember there was one distant relative that had a piano,” he says. “You know, the furniture piano nobody played? We would only go to his house occasionally and I was always fascinated by that thing in the living room. And for some reason they never really invited me to sit down and make some noise or whatever. Once I was able to say, ‘Can I touch it?’ And then they opened it. There was something about the smell, the looks, the whole thing. And I went over to it and I remember the first thing I figured out how to play was because I had seen an episode of Woody Woodpecker. It was like a wild west cartoon. There was a bank robber trying to escape by hiding inside a piano in the saloon. The bank robber from inside the piano says to Woody, ‘You don’t tell anyone or else!’ And then with the end of the gun he plays…” [Ruviaro walks over to a piano sitting beside me and plays the notes from his childhood memory. He comes to learn it was Chopin’s “Funeral March.”]\u003c/p>\n\u003cp>\u003cstrong>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/201648617″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/201648617″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/strong>\u003c/p>\n\u003cp>Despite his inclination to play the piano, Ruviaro’s first two years of music lessons were on the organ. “The methods they used at the time for organ contained a mix of classical and popular music. It was a little unusual,” he said. “In the same book you would have some arrangements of Beethoven pieces and then some arrangements of Beetles pieces. It was a really crazy mix. And because it was organ, they didn’t make piano-like arrangements, they made arrangements where you had the melody, and then the chords on the left hand. Pretty much how a guitar player would read music. So from the beginning I actually learned how to read chords like a popular musician would learn. I think that stayed with me. That was a very valuable thing. When I moved to piano there was no turning back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After finishing his Undergrad studies in Brazil, Ruviaro worked for two years with a theater company in São Paulo. “It was a really amazing experience,” he said. “I was just making the music for their plays. I would not only compose the music, but I was also there every night. It was mostly pre-recorded, someone else could do it, but I wanted to be there because it was so much mixing and sound balancing and hitting the right cue at the right time. So I was in a way playing the music, not like a pianist, but delivering the music together with the play.”\u003c/p>\n\u003cp>Ruviaro moved to the U.S. to continue his studies in electronic music in 2002. From 2002–2004 he worked toward a master of arts in electroacoustic music at \u003ca title=\"Dartmouth\" href=\"http://music.dartmouth.edu/graduate/people\" target=\"_blank\" rel=\"noopener\">Dartmouth\u003c/a>. After Dartmouth, Ruviaro headed west. From 2004–2010 he attended \u003ca title=\"Stanford University\" href=\"https://music.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> where he continued to study electronic music in parallel with acoustic music composition. He earned his doctorate from Stanford in 2010 and then taught at the renowned \u003ca title=\"CCRMA\" href=\"https://ccrma.stanford.edu/people/bruno-tucunduva-ruviaro\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> (CCRMA) for two years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/192181431″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/192181431″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He accepted a teaching position at \u003ca title=\"Santa Clara University\" href=\"https://www.scu.edu/profiles/?p=5186\" target=\"_blank\" rel=\"noopener\">Santa Clara University\u003c/a> in 2012, where Ruviaro now heads up the electronic music department. “One of the things I liked when I came to visit for the interview was that this department was already very much in syntony with new music, experimental music and trying to be innovative or find interesting ways to teach music — even at a more basic level,” he said.\u003c/p>\n\u003cp>SCU already had the New Music Festival happening every so many years, but they didn’t have much in the way of electronic music. Ruviaro was hired to implement an electronic music program. One of the first things he launched was Santa Clara University’s Laptop Orchestra, affectionately known as \u003ca title=\"SCLOrk\" href=\"http://cms.scu.edu/cas/music/news/index.cfm?b=644&c=20241\" target=\"_blank\" rel=\"noopener\">SCLOrk\u003c/a>. Ruviaro describes it as the main project; now, the music department has three or four electronic classes built into its program.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Lts9vEBCDQ8?rel=0'\n title='//www.youtube.com/embed/Lts9vEBCDQ8?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Staying true to his experience at Dartmouth and Stanford, where students are given freedom to direct their course of study within an incredible support system, Ruviaro tells me, “You never know what people are going to come up with as long as you give them the tools, some basic knowledge to get started and the ability to learn more independently.”\u003c/p>\n\u003cp>Of course, we live in a world where attention spans are short-lived, and popular culture tends to rule the day. I ask Ruviaro how he approaches the challenge of creating in this environment.\u003c/p>\n\u003cp>“The thing that I do is often not based on a strict beat — it just requires a different kind of listening,” shares Ruviaro. “I always try to ask people in a concert to just have your ears open for different states of mind and different types of listening. Don’t frustrate yourselves trying to find a melody or a harmony. Just listen to the sounds and enjoy the flow, the sequences, the other kinds of harmonies that may show up. In that sense, it may be a little more demanding.”\u003c/p>\n\u003cp>But with greater demands often comes greater rewards.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"id": "fresh-air",
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"hidden-brain": {
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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